San Francisco Composers Chamber Orchestra

**Context Profile for San Francisco Composers Chamber Orchestra (SFCCO)**

1. **Organization Mission & Cause:**
   - The San Francisco Composers Chamber Orchestra (SFCCO) is dedicated to providing a platform for composers to have their music performed by a live orchestra. Their mission is to support bold, local, experimental, and unheard voices in the music community. They aim to make orchestral music accessible and inclusive, allowing composers to share their work with live audiences, often for the first time.

2. **Type of Activities:**
   - **Concerts and Performances:** SFCCO organizes concerts featuring world premieres of new orchestral works by Bay Area composers.
   - **Fundraising Campaigns:** They run donation campaigns to support their activities, emphasizing the impact of contributions on the careers of composers and the musical community.
   - **Community Engagement:** SFCCO connects composers and audiences in meaningful ways, fostering personal and artistic growth.

3. **Tone of Voice:**
   - The tone is inspiring and passionate, emphasizing the importance and impact of new music. It is also friendly and inclusive, aiming to engage a broad audience in the mission of supporting living composers.

4. **Emoji Usage:**
   - SFCCO frequently uses emojis in their communications to add a friendly and engaging touch. Examples include 🎶, 🎼, 💡, and 🎁. These are used to highlight key sections and create a visually appealing and approachable communication style.

5. **Key Facts:**
   - **Founding Information:** SFCCO was founded in 2002.
   - **Volunteer Involvement:** The orchestra is composed entirely of composer-performers who volunteer their time.
   - **Impact Metrics:** Each performance costs between $3,000 to $4,000, but the impact on composers' careers and the community is described as priceless.
   - **Affiliation:** SFCCO is part of Erling Wold’s Fabrications, a 501(c)3 organization.

6. **Writing Guidelines:**
   - **Language Style:** Use clear, engaging, and inspiring language that emphasizes the importance of supporting new music and living composers.
   - **Structure:** Organize content with headings and bullet points for clarity. Use bold text to highlight important information.
   - **Engagement:** Incorporate calls to action that encourage donations and participation, using a friendly and inclusive tone.
   - **Visual Elements:** Utilize emojis to break up text and add a friendly, approachable feel to communications.

By adhering to these guidelines, AI assistants can generate content that aligns with SFCCO's mission and effectively engages their audience.

LXCL:Grants entry to the event with access to standard amenities and activities. Sliding scale tickets are available at the door

General Admission

LXCL:Grants premium entry with access to exclusive areas and VIP amenities. Sliding scale tickets are available at the door

Senior & Student Admissions

Hi <span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip" fr-original-style="" style="background-color: rgb(248, 248, 255); border: 1px solid rgb(191, 191, 255); border-radius: 4px; color: rgb(42, 42, 196); padding: 1px 8px; font-size: 11px; display: inline-block; margin: 0px; overflow-wrap: anywhere; user-select: none; box-sizing: inherit;">First name, Thank you for purchasing tickets to the San Francisco Composers Chamber Orchestra!We&rsquo;re excited to share an evening of unforgettable music with you. Your support not only secures your seat at the concert, it also helps bring new works by living composers to life. We can&rsquo;t wait to welcome you and share this musical journey together. See you at the concert! Michael Cookeinfo@sfcco.org

<hr /><div><figure> </figure></div><p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%"> There are concerts that entertain, and concerts that transform. Unanswered, Forbidden, Unforgettable is both — a journey through questions, voices once silenced, and music that refuses to be forgotten. <p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">Led by John Kendall Bailey, the San Francisco Composers Chamber Orchestra’s fall program ventures from Moroccan deserts to Coney Island, from ancestral spirits to Baudelaire’s forbidden poetry, from the silence of unanswered questions to the thunder of deconstructed Beethoven.<div> </div><hr /><p style="font-weight:bold;font-weight:bold;text-decoration:none;padding:0px;margin:30px 0px 0px;font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;box-sizing:inherit;max-width:100%">Hussein Al-Nasrawi — Moroccan Splendor &amp; New York Wonders<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">A double passport in sound: the sweeping Agafay Desert and glittering Marrakesh nightlife meet the buzz of the US Open, the majesty of the Met, and the carnival color of Coney Island. Al-Nasrawi’s music is part travel diary, part celebration, all vibrantly alive.<p style="font-weight:bold;font-weight:bold;text-decoration:none;padding:0px;margin:30px 0px 0px;font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;box-sizing:inherit;max-width:100%">John Beeman — Ishi, Act II: Scene 6, Finale<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">For years, SFCCO audiences have witnessed Ishi’s story unfold scene by scene. Now comes the climax: Ishi returns to his homeland, haunted by the spirits of the dead, only to be comforted by the voice of his mother. This moving conclusion offers reconciliation, remembrance, and resilience.<p style="font-weight:bold;font-weight:bold;text-decoration:none;padding:0px;margin:30px 0px 0px;font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;box-sizing:inherit;max-width:100%">Michael Cooke — Symphony No. 4 (“Deconstructing Beethoven”), Finale<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">What if Beethoven time-traveled and absorbed 200 years of modern innovation? Cooke answers with a theme-and-variations finale that nods to Eroica while colliding with Hindemith, fugues, marches, and polyrhythms Beethoven never imagined. It’s both homage and re-invention — Beethoven rebuilt for the 21st century.<p style="font-weight:bold;font-weight:bold;text-decoration:none;padding:0px;margin:30px 0px 0px;font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;box-sizing:inherit;max-width:100%">Ben Dorfan — Two Movements for Chamber Orchestra<ul><li>In the Silence: Inspired by stories of housed and unhoused participants, this piece asks what “home” means, weaving heartbreak and hope into sound.</li><li>The Unanswerable Question: A clarinet and double bass pose riddle after riddle, while timpani punctuate with a restless “false reply.” Dorfan channels both Ives and Emerson in a dialogue that refuses resolution.</li></ul><p style="font-weight:bold;font-weight:bold;text-decoration:none;padding:0px;margin:30px 0px 0px;font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;box-sizing:inherit;max-width:100%">Michael Orlinsky — The Raven: Prelude<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">A brooding prelude to Orlinsky’s song cycle on Poe’s The Raven. Motifs for the Poet, Lenore, and the Raven intertwine through shifting keys. The result is a haunting collage of falling scales and shadowed melodies.<p style="font-weight:bold;font-weight:bold;text-decoration:none;padding:0px;margin:30px 0px 0px;font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;box-sizing:inherit;max-width:100%">Stardust — Les Fleurs Interdites: Les Bijoux<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">Charles Baudelaire’s poems were censored in 1857 for “immorality” and banned until 1949. Now, soprano Megan Cullen revives their forbidden allure in Stardust’s latest installment of the Forbidden Flowers cycle — a lush, intoxicating setting of Les Bijoux. <hr /><p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">Program for the Evening:<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%">Hussein Al-Nasrawi – Moroccan Splendor &amp; New York  Wonders <a href="https://johnbeemancomposer.com/" target="_blank">John Beeman</a> – Ishi, Act II: Scene 6, Finale <a href="https://michaelkcooke.com/" target="_blank">Michael Cooke</a> – Symphony No. 4 (“Deconstructing Beethoven”), IV. Finale: Allegro molto <a href="https://bendorfan.com/" target="_blank">Ben Dorfan</a> – Two Movements for Chamber Orchestra Michael Orlinsky - The Raven: Prelude <a href="https://stardustdoherty.org/?page_id=6565" target="_blank">Stardust</a> – Les Fleurs Interdites: Les Bijoux<p style="font-style:normal;font-variant-ligatures:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:justify;text-indent:0px;text-transform:none;widows:2;word-spacing:0px;-webkit-text-stroke-width:0px;white-space:normal;text-decoration-thickness:initial;text-decoration-style:initial;margin:0px;line-height:1.5;box-sizing:inherit;max-width:100%"> WHY COME? Because not every concert takes you from desert sands to forbidden poetry in one evening. Because timpani don’t usually get the last word in a philosophical debate. Because when Beethoven gets deconstructed, you’ll want a front-row seat to see how many pieces he ends up in.

San Francisco Composers Chamber Orchestra

Unanswered, Forbidden, Unforgettable

1751 Sacramento St

General Admission

$25

Senior & Student Admissions

$20

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